The most abstract, playful and confounding of reggae subgenres, dub is a vital component of sound system culture that has wielded disproportionate influence. Emerging as an underground phenomenon in Kingston during the early 1970s, dub was wrought by sonic alchemists such as King Tubby, Lee 'Scratch' Perry, Prince Jammy and Scientist, conjuring musical mutations at the mixing desk. Dub reached other lands through the Jamaican diaspora and as Lloyd 'Bullwackie' Barnes furthered the form in New York, Dennis Bovell, Mad Professor and Adrian Sherwood conjured their own dub masterworks in London, Jah Shaka and his acolytes subsequently helping dub to achieve global reach.

Widely adopted by post-punk producers and later a crucial influence on the underground dance music scenes of several continents, dub indelibly changed the techniques and aesthetics of music production with far-reaching effects; it's no exaggeration to say that without dub, there would be no hip-hop or house music. Dub is made from studio trickery, its auteurs fashioning something new by subtraction rather than addition, reversing standard recording techniques. It is a music of absence and deception, a ghostly sonic doppelganger with bass primacy and torpedoed song structures, full of holes and unexpected twists.

The evolution of dub marks the birth of the remix and the emergence of the studio as an instrument in itself, a place where songs can be pulled apart and given wild reshaping, rendering a disembodied new form that is often cosmic and typically jagged. Dub's progression is also inseparable from the troubled history of post-colonial Jamaica, blighted by caustic Cold War interventions, attendant gang culture and communal breakdowns. Through first-hand testimony with dub's most noteworthy creatives, David Katz's monumental forensic history of an astounding subgenre that sounds like the future five decades after its inception stands as the authoritative book on a musical art form that continues to fascinate, generation after generation.

THIS IS A RECORD STORE DAY 2026 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 18TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 8PM (BST) ON MONDAY APRIL 20th).

Culture Of Fear is Thievery Corporation’s 6th studio album, originally released in 2011.

On this release, they continue to blend musical styles in their trademark fashion; space-rock jams lead to hip-hop inspired grooves, airy downtempo trances, and dub-reggae infused vibes throughout the journey. This 15th anniversary edition is pressed on color vinyl exclusively for RSD 2026.

Raffaele Ciavolino is an Italian DJ, producer, and professional engineer who has carved out a significant niche in the global house music scene. His work is characterized by a sophisticated blend of Jazzy, Funky, and Deep House, often incorporating the high-energy "Jackin" house style that has earned him consistent recognition on major genre labels. “Come In To The Jazz”, the title of his new Album, gives you an idea of what to expect - jazzy melodies and sophisticated house beats. He does so with a modern viewpoint but also plenty of reverence for the glory days of jazzy house. Trumpets and guitars feature here and embellish the drums with quality, meaningful layers of melody and mood. As he merges the past and present, this richly textured work shines with improvisation and timeless deep house warmth.

TRACK LISTING

A1. Dizzy Guitar
A2. Come Into The Jazz
A3. Soul Mood
B1. Just Keep Going
B2. Say My Name
B3. Just Listen
C1. Sunset Trumpet
C2. Love Is Special
D1. Roll In Da Groove
D2. Horn Stacks

The friendship between Sarah Jane Morris and Mario Biondi is the basis of this collaboration, born from the desire to pay homage to Roberta Flack. The idea, proposed by Sarah Jane, to reinterpret "Back Together Again" was born a few months before the death of the famous American singer. The original song, published in 1980 on the album "Roberta Flack Featuring Donny Hathaway", included the posthumous participation of Donny Hathaway, who died in 1979. Mario Biondi enthusiastically welcomed the proposal, and considering that the original song had a strong dance component, entrusted the production to Micky More & Andy Tee, one of the most important Soulful Disco House production teams on the contemporary world scene. The duo of DJs and producers from Ancona Italy have been at the top of the charts of digital dance stores for years. The package includes a fantastic DUB version of Jazz-N-Groove, Courtesy Of Brian Tappert & Marc Pomery, The legendary American Dance producers Duo. A MUST HAVE.

TRACK LISTING

A1. Micky More & Andy Tee Club Mix
A2. Jazz-N-Groove Dub Mix
B1. Micky More & Andy Tee Disco Mix
B2. Micky More & Andy Tee Edit

Since 1999, the album has been declared dead more times than we can count—yet it refuses to disappear. Body of Work traces its turbulent journey through the digital era and asks why listening in forty-minute chunks still matters. Weaving insider accounts with cultural history and personal reflection Jopling tells the story of the album’s unlikely survival.

From bloated CD culture to Napster’s atomization, from Apple’s unbundling to Spotify’s shuffle wars (and Adele’s famous intervention), the album has not only endured, it has re-emerged stronger than ever. Body of Work makes the case that the album remains the perfect vessel for the art of song—the format every artist aspires to, even after decades of digital disruption. As producer and artist Jack Antonoff (Bleachers) put it: “the album is God.” It is the defining artform of popular music, and it always will be.

Shabi’s ‘Golden High' EP is a vibrant, disco-infused collection that merges classic grooves with modern production. The title track, ‘Golden High', is a light, fun disco gem, capturing a funky 70s mood with a fresh house twist and that guitar magic touch. ‘Mellow Scene' takes the funk further, building up to a funky house crescendo that's perfect for late-night floors. On the flip side, ‘Deep Vibration' offers a deeper vibe, giving the EP a well-rounded feel with its rich bassline and smooth production. Finally, ‘This Is 1979' is catchy and playful, bringing a polished sound that keeps the rhythm flowing. Altogether, ‘Golden High’ is a solid pick for those craving both nostalgic and modern dancefloor moments.

TRACK LISTING

A1. Golden High
A2. Mellow Scene
B1. Deep Vibration
B2. This Is 1979

A culturally connected celebration of the groundbreaking hip-hop group De La Soul, and how they changed the look, sound, and feel of Black America. Music artists and trends come and go, but every once in a while, a moment arrives that genuinely changes everything. In 1988, De La Soul, three young men from Amityville, Long Island, did exactly that.

Their always innovative work pulled inspiration from artists of the past and popularized cutting-edge music sampling techniques to blend jazz, R&B, and rap as they created a sound unlike any the world had heard before. But the De La Soul experience didn't end there. These weren't just musicians-they were game-changers in so many ways.

From the way they dressed, to the words they spoke, to the day-glo colours of their breakout 3 Feet and Rising, De La Soul rejected convention, refused to be talked back into the box, and left the door open for everyone behind them. Now, in Living in a D.A.I.S.Y. Age, Austin McCoy explores how De La Soul not only defined a new era of hip-hop, but also American and Black culture at the same time.

Through his eyes, ears, and well-studied recall of '80s, '90s, and 2000s America, McCoy takes us on a journey through the world this innovative musical act made. One of the few hip-hop groups of their era to stay together long term, De La Soul lived astonishing highs and lows, from forming the Native Tongues collective to influential fights with their publishers to assert the artist's right to control their creations. And after a lifetime left out of music's digital revolution, in 2023 they finally hit streaming services just as it lost founding member David Jolicoeur too soon to see his work reach a brand-new generation of fans.

Living in a D.A.I.S.Y. Age will connect with DLS fans, '80s babies, and students of the rap game alike, in a beautifully rendered and deeply researched tome that places this group atop the pedestal it deserves.

Long-serving British house producer and hits maker Michael Gray brings his famously soulful sound to "On My Way Out" By Jamiroquai’s Derrick McKenzie Feat. Angela Johnson and it very much taps into a timeless vibe and old school disco feel. The grooves are nice and loose, the moog riff is smooth and fresh and the vocals are solar to the heavens next to mid tempo beats. High class Remix and lavish quality of the most uplifting music.

TRACK LISTING

A1. On My Way Out (Michael Gray 7” Vocal Mix)
B1. On My Way Out (Michael Gray 7” Dub Mix)

Bruised and bloodied, Knocked Loose opens up the pit with a brutal sound that falls between hardcore, punk and metal. Back in 2014 frontman Bryan Garris, Guitarists Isaac Hale and Cole Crutchfield alongside bassist Kevin Otten and drummer Pac Sun were most likely jamming in a garage or basement somewhere like every other wannabe World touring band. After the release of this, their debut EP, the band have gone from strength to strength with fans among their peers. This EP is where is all began. If you’re looking for a release that delivers heavy, driven riffage, together with vocals that cover subjects ranging from atheism to suppressing personal insecurities then you found it.

TRACK LISTING

1. The Gospel
2. Separate
3. Manipulator II
4. Small Victories
5. All My Firends

OMD’s 1984 hit album receives the treatment recently afforded to its two predecessors, 'Architecture & Morality' and 'Dazzle Ships': remastered from the original ½ inch reels and cut at half speed by Miles Showell at Abbey Road Studios.

Still very much active, Orchestral Manoeuvres in the Dark (OMD), founded by Andy McCluskey and Paul Humphreys, emerged from Liverpool in the late ‘70s and are rightly regarded as one of the more original of the so-called ‘synth pop’ outfits of the following decade.

Notably also one of the more successful, they have enjoyed at least 20 hit singles across Europe and beyond, with total sales of around 40 million records to date.

'Junk Culture' is their fifth album, released 30 April 1984. It featured another Peter Saville-designed sleeve but was a consciously more melodic effort than its experimental predecessor ('Dazzle Ships') and was a significant success, charting across Europe and hitting the top 10 at home in the UK.

Produced by the band and Brian Tench (with additional contributions by Tony Visconti), it was recorded at a variety of locations including AIR Studios in Montserrat, which had a newly-acquired, state-of-the-art Fairlight CMI sampler keyboard, and Wisseloord in Hilversum, Netherlands.

As intended, 'Junk Culture' returned OMD to the upper reaches of the singles charts too, with ‘Locomotion’ (top 5 in the UK and top 10 across Europe), ‘Talking Loud and Clear’ (No. 11 in the UK, top 5 in Belgium, the Netherlands and Ireland), and the club hit ‘Tesla Girls’ (No. 21 in the UK, No. 8 in the Netherlands). All three remain live favourites.

TRACK LISTING

1. Junk Culture 
2. Tesla Girls 
3. Locomotion
4. Apollo 
5. Never Turn Away
6. Love And Violence
7. Hard Day 
8. All Wrapped Up 
9. White Trash 
10. Talking Loud And Clear 

Berlin-based Colombian DJ, producer, and curator Edna Martinez presents a sonic journey into the electrifying world of Picó—the vibrant and dynamic sound system culture that has defined the streets of Cartagena and Barranquilla for decades. More than just a musical movement, Picó is a way of life, a bold expression of identity, community, and resistance. From its roots in the working-class neighbourhoods of Colombia’s Caribbean coast to its deep connections with Africa and the Caribbean, this compilation captures the pulse of a culture where music is played at full volume, rhythms travel across oceans, and dance is both a form of celebration and storytelling. For those unfamiliar, Picós are hand-painted sound systems, often adorned with dazzling colours and striking imagery, each with its own name and sonic identity. These mobile discos became the heart of neighbourhood bailes, where the sounds of champeta, highlife, soukous, mbaqanga, zouk, soca, and cumbia would turn every street corner, market, and terrace into a dancefloor. Initially built by local craftsmen using modified speaker components, Picós became legendary for their powerful bass and exclusivity, with DJs sourcing rare vinyl from African and Caribbean ports and rebranding them with unique piconemas—new names adapted to local slang, making the tracks instantly recognisable within the community.

This compilation brings together a carefully curated selection of these rare and sought-after tracks, tracing the deep-rooted musical exchanges between Colombia, West and Central Africa, and the Caribbean. Featuring artists like Los Corraleros De Majagual, Peacocks International Highlife Band, Pedro Lima, Zaïko Langa Langa, and more, the album also includes edits by Edna Martinez, reimagining these timeless rhythms for contemporary audiences while staying true to their original spirit.

TRACK LISTING

1. Wulomei – Takoradi
2. Conjunto Ana N’Gola – Puxa Odoette
3. Zeal Onyia & His Music – Egbe Ne Lueli
4. Los Corraleros De Majagual – Remanga
5. Aquí Suena – Abel Llinas
6. Peacocks International Highlife Band – Igbala Oso
7. Pedro Lima Et L’Orchestre Os Leonenses – Philomene
8. The Shoe Laces – Isitha Somunthu
9. Claudio Y Su Combo – Como Sea
10. Pa’ Entro Mi Gente – Ángelo El Auténtico
11. Zaire – I’m Tired Of Living In The Shack
12. Afous - Anavdhou (Edna Martinez Extended Edit)
13. Zaïko Langa Langa – La Tout Neige (Edna Martinez Edit)
14. Erick Cosaque Et Les Voltage 8 – Ajaccio (Edna Martinez Remix)
15. Picó Sin Fronteras – Abel Llinas
16. La Calandria – Como Duele Una Traición
17. African System International – Amina
18. Carlos Díaz Y Su Orquesta – Tres Meses De Vida
19. No Puedes Conmigo – Ángelo El Auténtico

When three of the most forward-thinking minds in electronic and alternative music collide, the result is bound to be expansive. Demise Of Love is the thrilling new project from Daniel Avery, James Greenwood's Ghost Culture, and Working Men’s Club—a studio collaboration forged from mutual admiration and an unrelenting drive to break new ground. Born from a shared desire to create something raw, boundary-pushing and deeply emotive, the trio entered the studio with no expectations, only a love for each other’s work and a fearless approach to sound. The result is a heady fusion of industrial dreamscapes, acid house intensity, and starkly beautiful melodies. Shaped by the combined creative forces of the trio’s masterful production and brooding presence, Demise Of Love carves out its own uncompromising space in electronic music.

TRACK LISTING

1. Strange Little Consequence
2. Carry The Blame
3. Be A Man
4. Like I Loved You

They say nothing good happens after midnight, but in the case of creativity, that's just not so. The night fosters a different kind of creativity: something urgent, spontaneous, carved out of necessity. Tracking the past, present and future of this complex, often contradictory dynamic. Selling The Night explores what happens when this creativity influences wider culture and converges with everything from media, advertising, design and to gaming, fashion, hospitality, alcohol, beauty, tourism and far beyond. Also, as importantly, the implications of brands taking space within dance music as sponsors and supporters. Selling The Night speaks to DJs, promoters, marketers, academics, activists, archivists, policy makers, photographers, writers and designers. It samples KFC through to Fiorucci, Absolut and Red Bull, and moves from New York disco to the modern global underground. It witnesses how ideas migrate from subculture to influence the creative industries. It goes in search of lessons in improving the value exchange between dance music and brands, seeking something more symbiotic and less parasitic. All the while, it celebrates what makes after-dark ideas so special - the unique and democratising role they play.

Italian Disco Veteran DJ Corrado Alunni provides an incredible Quality EP of Four Tracks. A superb blend Of Jazz Funk on 4/4 Beats; Horns, hammond organ and rhodes are the main ingredients of this beautiful 4-track Vinyl. A Must Have.

TRACK LISTING

A1. Make It Feel More
A2. Perfect Direction
B1. Keep Moving
B2. The Beat Goes On

Second release on Hot Biscuit sub-label, Now Is Not The Time featuring, once again, the esteembable talents of Chicago edit king Rahaan. 

A double pack of pressure, with six cuts gifted plenty of disc space for maximum fidelty and headroom. No idea of the source material but it's all sumptiously tasty, highly frenetic, and tailor made to get those tail feathers shaking come Saturday night! Rahaan really is the daddy at this stuff, probably the most prolific and talented of the contemporary editors. Giving us all the excitement and feels as when we first heard maybe those COMBI edits.... or Theo Parrish's "Ugly Edits" series. A top drawer set that no disco fan will want to be without. 

Limited copies! 

STAFF COMMENTS

Matt says: Hopefully you've clocked this week's delivery of Hot Biscuits. Now Is Not The Time is the sister label which, to date, solely encompasses the works of Rahaan. Another double pack that's gonna fly off the shelves.

TRACK LISTING

A1. America
A2. It’s You
B. Touch
C1. Irreplaceable
C2. Hell Yeah
D. 10

As the lights turn off for 2023 and we move into 2024 Rough Trade shops return with their annual Counter Culture series selection. The LP offers 13 tracks whilst the Double CD a full 35 tracks. All bases covered - from the chaotic party fury of Snooper to the unhinged metal of Pest Control to the beer chucking fun fest that is the Mary Wallopers, this has got everything. You got the Death Grips style Lip Critic, an eleven minute sludge workout from Slift, the future Badu soul of Liv.e and new kids on the black Lifeguard with their unique take on post punk.

As always Rough Trade Shops live and breath new music and this series stands by that.

TRACK LISTING

CD Tracklist:
CD 1
1. Snooper - Running
2. Cari Cari - My Grandma Says We Have No Future
3. The Mary Wallopers - Cod Liver Oil & The Orange Juice
4. Video Age - Away Fromthe Castle
5. Miss Tiny - The Sound
6. GENN - Days And Nights
7. Duvet - Girlcow
8. Cloth - Secret Measure
9. Lifeguard - 17-18 Lovesong
10. Plush - (See It Inthe) Early Morning
11. Plantoid - Wander/Wonder
12. Lip Critic - The Heart
13. Cindy - Why Not Now
14. The Lost Days - For Today
15. Sam Blasucci - Turn Yourself Around
16. Feeble Little Horse - Steamroller
17. Tapir - Untitled

CD2
1. Lynks - Small Talk
2. Red Axes - Hey
3. Jellyskin - Bringer Of Brine
4. Speakers Corner Quartet - 'Can We Do This?' (feat. Sampha)
5. Bawo - Terra Incognita
6. Marta Del Grandi - Snapdragon
7. Big Special - This Here Ain’t Water
8. McKinley Dixon - Run, Run, Run
9. Debby Friday - So Hard To Tell
10. Joshua Idehen - Don’t You Give Up On Me
11. Kara Jackson - Why Does The Earth Give Us People To Love?
12. Sofie Royer - Mio
13. Liv.e - Wild Animals
14. Avalon Emerson - Sandrail Silhouette
15. Moin - No Neck
16. James K - Scorpio
17. Pest Control - Buggin’ Out
18. Slift–Ilion

LP Tracklist:
1. Snooper - Running
2. Big Special - This Here Ain’t Water
3. Moin - No Neck
4. Avalon Emerson - Sandrail Silhouette
5. The Lost Days - For Today
6. Cindy - Why Not Now
7. Tapir - Untitled
8. Sofie Royer - Mio
9. Jellyskin - Bringer Of Brine
10. Red Axes - Hey
11. Lynks - Small Talk
12. Joshua Idehen - Don’t You Give Up On Me
13. Kara Jackson - Why Does The Earth Give Us People To Love?

First as a journalist and then a publicist at Warner Brothers Records for nearly twenty years, Barbara Charone has experienced, first-hand, the changes in the cultural landscape. Access All Areas is a personal, insightful and humorous memoir packed with stories of being on the cultural frontline, from first writing press releases on a typewriter driven by Tip Ex, then as a press officer for heavy metal bands taking the bus up to Donnington Festival with coffee, croissants and the much more popular sulfate. To taking on Madonna, an unknown girl from Detroit, and telling Smash Hits 'you don't have to run the piece if the single doesn't chart', and becoming a true pioneer in music, Charone continues to work with the biggest names in music, including Depeche Mode, Robert Plant, Foo Fighters and Mark Ronson at her agency MBCPR.

The story of how a music-loving, budding journalist from a Chicago suburb became the defining music publicist of her generation, Access All Areas is a time capsule of the last fifty years, told through the lens of music.

Shabaka Hutchings debut release under his own name, Afrikan Culture, was released on Impulse! Records in May 2022. Known for his globally-acclaimed, groundbreaking groups (Sons of Kemet, The Comet Is Coming, Shabaka and The Ancestors), this release finds Shabaka at a quieter, more meditative space than the pulsing, driving material found in his other groups. The 7-track release is primarily made up of Shabaka on various wind instruments with other complimentary instrumentation sprinkled throughout.

Your annual almanac of the wildest, weirdest and most wonderful hits we'll be jamming to all through 2023. If this crop of Counter Culturists are anything to go by it's going to be one hell of a year. Buy one for yourself, buy one for your nan, buy one for your milkman, buy one for his hamster, there's something for everyone on here.

TRACK LISTING

LP 
Side A
A1. Sessa - Música
A2. Gloria Scott - Promised Land
A3. Anysia Kym Feat Mike - Real Love
A4. Master Peace - Country Life
A5. Suzi Moon - Dumb & In Luv
A6. Hater - I'm Yours Baby
Side B
B1. Sam Burton - Leaving Here Still
B2. Pale Blue Eyes - Chelsea
B3. The Prescriptions - Love Is Red
B4. Saloon Dion - Pressure
B5. Oldboy - Wow
B6. Benefits - Flag

CD 
1. Sessa - Música
2. Gloria Scott - Promised Land
3. Anysia Kym Feat Mike - Real Love
4. Jeshi - National Lottery
5. Master Peace - Country Life
6. Girl Ray - Give Me Your Love  (Version Francaise)
7. Hater - I'm Yours Baby
8. Priestgate - Lucifer
9. Bartees Strange - Daily News
10. Sam Burton - Leaving Here Still
11. MF Tomlinson - The End Of The Road
12. Pale Blue Eyes - Chelsea
13. The Prescriptions - Love Is Red
14. Saloon Dion - Pressure
15. Oldboy - Wow
16. Benefits - Flag
17. Suzi Moon - Dumb & In Luv
18. High Vis - Fever Dream
19. Dazy - Split
20. Ex-vöid - Boyfriend
21. Humour - Yeah! Mud 

Sub- Culture followed Perfect Kiss as the second single to be taken from the Low Life LP. Coming out in October of 1985 it featured a hugely reworked and quite possibly superior remix by engineer John Robie. Everything here is bigger, bolder and basically more dancefloor friendly, WITHOUT compromising the beautiful song as featured on the original. 

STAFF COMMENTS

Andy says: A more aggressive take on one of the standout cuts from 1985's Low Life LP, this mix features souped up electronics and soulful backing vocals. This was massive in Manchester back in the day!

TRACK LISTING

A. Sub-culture 7’26
B. Dub-vulture 7’57

Since the dawn of time, humans have had the urge to come together and move to music. It may have started in caves but these days it happens in clubs often found in the shady corners of our towns and cities. Or at least it did until these places began to march to the beat of property developers rather than DJs. In London in the five years to 2016, half of the clubs were lost while a further quarter have been removed in the devastation of Covid. So what now? At this critical moment, 'Out of Space' plots a course through the spaces and unlikely locations club culture has found a home. From Glasgow to Margate via Manchester, Sheffield and unlikely dance music meccas such as Coalville and Todmorden, it maps the key cities and towns where electronic music has thrived, it currently dances and the spaces it might be headed to next. It explores how urban landscapes have acted as a home for other shades of club music too such as pirate radio, dance music festivals, soundsystem culture and more.

Here at Cultures of Soul, we haven’t let the doldrums of 2020 slow down our global exploration across space and time to discover the funkiest pockets of music culture the world has to offer! This time we make a pitstop in Jakarta, in the years between 1979 and 1991, the peak of the New Order. No, not the British electronic post-punk band that enjoyed great success during this same period (although synthpop is quite popular here) but the revolutionary government of President Suharto, which could be characterized as a “dictatorship”… along with all the political repressiveness that entails. However, at the same time, Suharto’s full-throated advocacy of foreign trade resulted in a new economic buoyancy, an expansion of tourism and culture industries, and a flourishing of the entertainment sector. Suharto aggressively courted western corporations to do business in Indonesia, which led to the need for more and more entertainment to distract the expatriates after hours. Jakarta became a wonderland of colorful discotheques, nightclubs and restaurants that merged traditional Indonesian ambience with the sexy ultramodern pulse of the disco beat.

While imported disco records dominate playlists, a local music scene has developed in parallel, with indigenous artists like Chaseiro, Rafika Duri, The Rollies and Lydia Kandou embracing the use of synthesizers and drum machines, modern studio production and influences from western pop, rock, funk, boogie, disco, jazz, yacht rock as well as Japanese “City Pop.” And from all this they are forging a distinctive Indonesian dance-pop sound that will largely remain hidden from the rest of the world… until now. Compiled by Munir Septiandry of the influential Indonesian DJ collective Midnight Runners, Tanamur City collects some of the high points of the latter part of this era, conjuring up a world of humid nights in packed discos, no-holds-barred genre blending, fun, fashion and funkiness of a kind never before seen in Southeast Asia… and seen rarely since.

TRACK LISTING

A1. Iwan Fals – PHK
A2. Denny Malik - Jakarta Kasmaran
A3. Rafika Duri - Catatan Kisah
A4. Lydia Kandou – Denny
B1. Chaseiro - Waktu Kian Berarti
B2. New Rollies - Sebuah Kenyataan
B3. Gito Rollies - Musik Kami
B4. Grace Simon - Kenangan Asmara
B5. Andi Meriem M. - Langkah

Soul Jazz Records’ new ‘Life Between Islands’ collection is inspired by the launch of Tate Britain’s exhibition of the same name. This landmark exhibition explores the links between Caribbean and British art and culture from the 1950s to now. ‘Soundsystem Culture: Black Musical Expression in the UK 1973-2006’, focuses on the most important Black British musical styles to emerge out of the distinctly Caribbean world of sound systems. The album features an all-star line-up including Dennis Bovell, Shut Up and Dance, Cymande, Digital Mystikz, Brown Sugar, Funk Masters, Janet Kay, Ragga Twins and more.

The album is a lightning-rod journey across Roots Reggae, Jungle , Jazz- Funk, Lovers Rock, Jazz, Dubstep and more. Much of Soul Jazz Records’ catalogue comes out of these genres and this album is partly an overview of some of Soul Jazz’s earlier releases (including Digital Mystikz’ long-deleted groundbreaking and now highly collectible single ‘Misty Winter’) alongside some choice rare and classic tunes that span over 30 years of sound system culture.

Many of the tracks represent how Black British artists defined their own identity, with songs such as Brown Sugar’s righteous ‘Black Pride’, ‘I’m In Love with A Dreadlocks’ and Tabby Cat Kelly’s powerful ‘Don’t Call Us Immigrants’. Aside from being musically rooted in the distinctly Jamaican-born phenomenon of the sound system, much of this identity is also shaped by the triangular relationship of being British-born, of Caribbean heritage, and with an equal love of African-American Jazz, Funk and Soul, as evidenced with many Lovers Rock reggae covers of American soul tunes (such as those of Jean Carn, William de Vaughan and Rose Royce featured here). This stateside influence can also be heard in groups such as the Funk Masters, a group formed by reggae radio DJ Tony Williams, whose jazz-funk music successfully crossed over into New York’s clubland, as well as the great Cymande, whose unique street-funk became staple material for numerous US hip-hop artists in the years that followed.

In the early 1990s, jungle and drum and bass artists took the essence of reggae’s soundsystem culture - MCs, dubplates, crews - and applied them to their own music, applying heavy reggae bass lines to intense double-speed drum breakbeats. At the forefront of this new movement were the duo Shut Up and Dance, working closely with The Ragga Twins, aka Deman Rocker and Flinty Badman, both MCs for North London’s infamous Unity reggae soundsytem. In the early 2000s, dubstep, spearheaded by Digital Mystikz, became the latest instalment in this ever evolving soundsystem culture.

STAFF COMMENTS

Matt says: Dang this is good! Skilfully joining the dots of sound system culture from its very beginning till now would seem like a daunting task for anyone. But guided by the Black identity of the majority of Sounds, Soul Jazz offer up a catch-all release that takes us from roots reggae and soul to jungle and dubstep without ever losing sight of the subwoofer. A phenomenal collection which, by way of a few choicely licensed joints ("Misty Winter", "RK1" especially), should be a instant-buy for anyone with a penchant for UK dance music.

TRACK LISTING

Black Slate - Sticks Man
Dee Sharp - Rising To The Top
Asher Senator - One Bible 
Cymande - Fug
Digital Mystikz - Misty Winter
Winston Curtis - Be Thankful For What You’ve Got
Trevor Hartley - It Must Be Love
Shut Up And Dance featuring The Ragga Twins - Java Bass
Brown Sugar - Black Pride
The Terrorist - RK1
Black Harmony - Don’t Let It Go To Your Head
Pebbles - Positive Vibrations
The Ragga Twins - Ragga Trip
Janet Kay And Alton Ellis - Still In Love
Funk Masters - Love Money
Cosmic Idren - Compelled
Harry Beckett - No Time For Hello
Sandra Reid - Ooh Boy
Tabby Cat Kelly - Don’t Call Us Immigrants
Brown Sugar - I’m In Love With A Dreadlocks

Following on from the success of ‘Greg Belson’s Divine Disco’ series Greg Belson and Cultures of Soul team up again to explore the world of Gospel Funk. Belson is one of the world's leading collectors and DJs of gospel music. You hold in your hands a collection of some of the rarest Gospel funk records from Belson’s amazing collection featuring everything from the laid back breakbeat laced “I Don’t Want to Be Alone" by Allen Gauff Jr to the high octane and socially-on-point take of the Gospel classic ‘This Little Light Of Mine’ by the Gospel Ambassadors to drum break funk of the Wearyland Singers ‘If You See Me Doing Wrong” to the sublime soulfulness of Zella Jackson’s “Days Are Just Like People." Without a doubt though, all of the artists included in this compilation, believed in themselves, the message, and the direction of the Gospel Funk intensity you hear within these grooves. Gettin’ on the Good Foot for God? Listen and decide for yourselves!

TRACK LISTING

A1. The Chariettes Gospel Singers - Nobody But Jesus
A2. Allen Gauff Jr - I Don't Want To Be Alone
A3. The Christian Harmonizers - Troubles Of The World
A4. The Wearyland Singers - If You See Me Doing Wrong
A5. Gospel Travelers - Jesus Is Watching You
A6. Pearl Farano And The High Lites Of Joy - Who's Your Boss
B1. Gospel Ambassadors - This Little Light Of Mine
B2. Vocal Aires - Save A Seat For Me
B3. Birmingham Travelers - Call Me Answer (feat. Henry Burton)
B4. Zella Jackson - Days Are Just Like People
B5. The Original Christian Harmonizers - Blackman Keep Doing Your Thing
B6. Preacherman Isadore Womack - I’ve Got Power In My Mind 

"Greg Hates Car Culture" was Venetian Snares' first ever vinyl release. Long out of print, it came out in 1999, as the third release on Minneapolis label History Of The Future. Aaron Funk's hallmarks were there from the start. His absurdist sense of humour, the razor sharp edits and his use of odd time-signatures. There is a rawness here, not often captured on later records, where you can imagine Aaron playing live in front of a room full of young breakcore fanatics. Indeed most of the tracks here were recorded live, tweaking his effects and EQ on the fly, to DAT from his Amiga. The album opens with "Personal Discourse", recorded in 1997, which samples Aaron calling into a Dominatrix live on community cable TV, while "Fuck A Stranger In The Ass" samples from the film The Big Lebowski. The track "Aqap" has a different sound to the others having been recorded later, in 1998, on Aaron's first PC. We have also added three hitherto unreleased 1997 tracks to this reissue. Two of them "Eating America.." and "Punk Kids" appeared on Venetian Snares rare self-released 1998 cassette "Spells" and the long sought after "Milk" was only passed around by his friends. "Greg Hates Car Culture" lets you hear the raw energy of a musician at the birth of his sound.

TRACK LISTING

01/ Personal Discourse
02/ Like Tooth Decay
03/ Fuck A Stranger In The Ass
04/ Point Blank
05/ Boiled Angel
06/ Cricket Spine Bin
07/ Aqap
08/ Milk
09/ Eating America With Pointed Dentures
10/ Punk Kids

Although gospel and disco music seem like polar opposites—one is secular while the other has embraced a hedonistic culture—the marriage of the two genres has birthed the uplifting spirituality and dance floor thump found in gospel disco. By the mid-'70s many established and independent gospel artists started creating records with a tight four-on-the-floor beat that touched both churchgoers as well as patrons of the drug-fueled establishments of the '70s. Cultures of Soul Records is proud to present the second installment of Greg Belson's Divine Disco. Belson is one of the world's leading authorities on the funky gospel sound; for this collection he dug deep into his crates to undercover the rarest independent and private press gospel disco records ever recorded. Greg Belson's Divine Disco sound is one that's been heard around the world from his DJ appearances at Glastonbury's NYC Donwlow stage to LA's Funky Sole to soul nights across Europe. Many tracks are under the radar or recently discovered such as Harrison Jones - On that Other Shore, Converters, I've Been Converted and the super limited self-released 45 by Mr Jesse R. McGuire – Jesus Is On the Mainline. Only 50 copies were ever pressed. This volume even includes gospel disco from the UK with Paradise's brilliant "Keep the Fire." This compilation also includes remixes and edits by Steve Cobby (who was a member of Fila Brazillia) and the Divine Situation production duo of Greg Belson and Paulo Fulci. 

TRACK LISTING

Converters - I've Been Converted
Harrison Jones - On That Other Shore
Wisdom – Change
Johnson Family Gospel Singers – Imitations
Calvin B. Rhone - I Believe
Psalms - Praise The Lord
Mr. Jesse R. McGuire – Jesus Is On The Mainline
Paradise - Keep The Fire
Wisdom - Let The Lord Come In Your Life
Prophecy - Take It To The Streets
New Creation - Ain't No Right Way To Do Wrong
Calvin B. Rhone - That's How Much He Loves You 
Harrison Jones & The Voices Of Harmony – On That Other Shore 
Mr Jesse R. McGuire – Jesus Is On The Mainline (Steve Cobby Remix)

In the 1970s reggae music burst forth from its birthplace of Jamaica and took over the world. Who would have ever thought that one of the first outposts it captured on its way to global domination would be an unlikely city known mostly for its Brahmin heritage and blue-collar brawlers as well as for violent racial polarization? Boston, Massachusetts was the first region in the US to really 'get' reggae, adopting it as early as 1973 when the city’s huge student population turned the lowbudget Jamaican B-flick 'The Harder They Come' into a midnight cult classic.

The city would gain a reputation as a key market for any international reggae act trying to gain a foothold in America. But besides being early enthusiasts and advocates for the music, Bostonians would also become bountiful producers of reggae as well, with a network of clubs, singers and musicians coalescing to form an organic Boston roots scene: A scene that would yield acts as varied as Zion Initation (a solid, spiritually-inclined Rasta band), to the I Tones (an ambitious, multiracial group that set a new standard for pop success), and even reaching across New England to embrace the Vermont-based Lambsbread (a latter-day reggae reincarnation of the legendary African-American proto-punk trio Death, later made famous by 2013’s revivalist documentary A Band Called Death').

Boston-based music journalists / historians Noah Schaffer and Uchenna Ikonne have teamed up with Cultures of Soul to compile an overview of some of the most crucial cuts to emerge from Boston during the height of the reggae boom in the 1980s. Formatted on CD or 2LP set both configurations come with a 28¬page book documenting the rich history of this music scene with in-depth analyses and photos of the reggae artists involved. Almost all of this music is reissued for the very first time, including rare gems such as Danny Tucker’s “Our Father’s Land,” Zion Initation’s “Think About It,” I Tones’ “Love is a Pleasure” and Lambsbread’s “Two Minute Warning” are sure to delight both roots connoisseurs and newcomers to the genre, and open up a time tunnel to a little-known golden age of American reggae, and an even less-known scene that facilitated the expansion of the music into an international phenomenon. 

STAFF COMMENTS

Patrick says: If movies are to be believed (and I did do 13 secs of Demographic research) Boston is entirely made up of Irish Americans wearing flat caps and letterman jackets. Improbably, alongside the entire Dropkick Murphies discography, the people of Southie were also America's early adopters of reggae, birthing the wealth of local artists and labels covered here. Wicked smart...

TRACK LISTING

A1 I Tones - Love Is A Pleasure
A2. Danny Tucker - Take Us Home
A3. Danny Tucker - Changes
A4. Danny Tucker - Our Father's Land

B1. Zion Initation - Think About It
B2. Zion Initation - Jah Light
B3. Zion Initation - Conquering Lion
B4. Zion Initation - Burning

C1. Zion Initation - Got To Love Jah Jah
C2. Healin' Of The Nations - Without Your Love
C3. Healin' Of The Nations - Nations, Unite (Peace Across The Land)
C4. Healin' Of The Nations - Love Is The Answer

D1. Lambsbread - Country Girl
D2. Lambsbread - Two Minute Warning
D3. Lambsbread - International Love
D4. Errol Strength - Errol's Love
D5. Errol Strength - Oh What A Saturday Night 

Kiran Leonard is a 22 year old musician from Saddleworth, Greater Manchester. Debut album proper Bowler Hat Soup (2014) and follow-up Grapefruit (2016) were both recorded at home, with Kiran playing virtually every instrument himself. Dervaun Seraun (2017), a concept album in five movements inspired by five pieces of literature and arranged for piano, strings and voice, was an ambitious departure from his usual sound.

Western Culture now sees him return to the signature sound of his first two records, yet marks a huge sonic progression thanks to the involvement of his venerable live band on record for the first time, as well as being the first to have been made in a professional studio (Old Granada Studios in central Manchester). Please read on for Kiran's statement on the record, discussing the themes within.

I like the phrase “WESTERN CULTURE” very much because it is a resounding clang from a hollow vessel, connoting so much (grandeur; authority; hostility) without possessing a concrete meaning in of itself. What does ‘western culture’ consist of? This question changes shape depending on who is speaking: e.g., ’culture’ is constantly evolving and autonomous, rapidly reacting to and altering the present in which it unfolds, but is simultaneously regarded as something static and possessed, corresponding roughly to ‘tradition’ or ‘heritage’, something people can call on when the world seems precarious and alien and antagonistic. And so very often when we talk about culture, we reveal our personal conceptions of world events and of what is to be done.

"“WESTERN CULTURE” — these heavy phrases without substance are of great importance because they are easily manipulatable agents with the potential to sustain great impact on the real world. Not every issue stems from language, and sometimes we allow our discourses to replace real things, which belittles violence and misunderstands the very real violence that phrases inflict. But I wanted to write about the relationship between the two, and show how a lot of very real brutality is distorted and justified by how we choose to depict it.

"In part, then, it is a response to brutality. We seem inundated by a brutality beyond our comprehension: the kind of nationalisms and capital, and the brutality of not knowing. The latter is particularly damaging because it is so difficult to oppose what you can’t understand/articulate. I wrote this record about all this not because I wanted the real world to be eclipsed (that is; I didn’t want to self-absorbedly change a problem of violence into one of self-expression) but because I don’t understand any of this, and the struggle to depict the world and lived experience in a more truthful way is waged discursively.

"Process of understanding; process of recognising perspectives beyond your own, and the historical, political forces of imbalance that engender them. I am interested in where songs might fit into all this; I think that it might be a valid means of approaching an articulation of violence, but I also suspect there is something totally absurd about the whole venture."

TRACK LISTING

1. The Universe Out There Knows No Smile
2. Paralysed Force
3. Working People
4. An Easel
5. Legacy Of Neglect
6. Now Then
7. Unreflective Life
8. Shuddering Instance
9. Exactitude And Science
10. Suspension 

Platinum selling indie-rock heroes Razorlight are set to make a triumphant return with "Olympus Sleeping", the band's first album in ten years. The record sees lead-singer and songwriter Johnny Borrell in top form, dishing up instant classics like the insanely catchy "Carry Yourself" or the album's lead single "Olympus Sleeping".

TRACK LISTING

Got To Let The Good Times Back Into Your Life
Razorchild
Brighton Pier
Good Night
Carry Yourself
Japanrock
Midsummer Girl
Iceman
Sorry?
Olympus Sleeping
No Answers
City Of Women

Wavves and Culture Abuse have joined forces for a new single - ’Big Cloud’. The song follows the two bands hitting the road with Joyce Manor for a US tour last year, which has already resulted in a track called ’Up and Down’. Hailing from the Bay Area, Culture Abuse signed to Epitaph Records earlier this year. The band formed in 2013, releasing their debut album Peach in late 2016. Infusing its distortion-heavy garage punk with keyboard melodies and the occasional string arrangement, Peach fully embodies the Culture Abuse mission of “being free, enjoying life, and sharing love.” Culture Abuse is planning to release new music this year and will tour this spring with Turnstile and Touche Amore. WAVVES’ sixth album You’re Welcome arrived in 2017 on Ghost Ramp. It was praised by the AV Club as “Wavves’ finest moment to date.” Throughout the album, WAVVES singer/songwriter Nathan Williams explores his obsessions with everything from doo-wop to Cambodian pop to South American psychedelia.

Thoma Bulwer returns with "Jandaze", his latest EP on Parasol Culture featuring long-time partner in crime Anna Wall. It follows Parasol 001, their first joint vinyl release, that sold out on the shelves gaining support from the likes of Mood II Swing and Cab Drivers plus on the airwaves via NTS. Their "Jandaze" EP has already been doing the rounds on the DJ circuit in Hackney Wick and beyond.

"Patience" was the result of a late night jam session with sync boxes, groove benders and the classic TR-909. After much fine-tuning, it’s been tried and tested by Cinthie on her recent Australia tour and is set to be a staple club cut for this summer.

Although "Insouciant" means a casual lack of concert, a lot of work went into making this one tick. It’s the most laid-back of the bunch, with Smallville-esque Juno 106 melodies perfect for the afterparty or warm up session. This goes out to the post-NYD loft party crew in The Wick where it was played for the first time. Try pronouncing this one at 7am in the morning…

"Fridge Speed" is a minimal house cut influenced by Thoma’s garage roots. Think rudely placed analogue synth stab melodies, ‘tuff’ skippy drums and big subs ideal for early hours and the capital's penchant for upfront house tackle.

"Egress" was made with long jam takes from Thoma’s modular system. Deep, dubby beats, evolving synths and textures make up this track that’s been road-tested on the world famous Fabric Room 1 sound system by Voigtmann in his extended set before Ricardo Villalobos.

Current support comes from Maya Jane Coles, Archie Hamilton Franck, Roger, Cinthie, Voigtmann, John Dimas. 

TRACK LISTING

A1. Thoma Bulwer & Anna Wall – Patience
A2. Thoma Bulwer & Anna Wall - Insouciant
B1. Thoma Bulwer - Fridge Speed
B2. Thoma Bulwer - Egress

The concept is the same as our yearly Counter Culture compilations, however we aim to give you a taste of what we're loving throughout the year, rather than just annually. Volume 1 features 4 female fronted bands that we LOVE. First up on Side A is London's Big Moon with That Looks Nice which is on vinyl for the first time and is an uptempo gem which twists and turns at every corner and is as good as Elastica in their prime. Next up are Our Girl (who conveniently are fronted by Big Moon member Soph Nathan) with a Ty Segall cover. They take Sad Fuzz and give it a neat lo-fi reworking and make it sound like a female fronted version of the Libertines. Side B starts with another London based band, Girl Ray with the aural confection cut Stupid things which is part Carly Simon and Part Dolly Mixture. Whilst Baltimore-based trio Snail Mail end proceedings with the excellent track Thinning which was originally released on tape by Sister Polygon Records. It oozes emotion and despair and we have not heard anything this instant since the early Best Coast and Veronica Falls singles.

TRACK LISTING

A1) Big Moon - That Looks Nice
A2) Our Girl - Sad Fuzz (Ty Segall Cover)
B1) Girl Ray - Stupid Things
B2) Snail Mail - Thinning

The world of Pure Bathing Culture is not the real world. It’s a world filled with characters like Scotty and The Bubble King and a place called The Ivory Coast that’s not the real Ivory Coast. It’s also a world created for its protagonists, Sarah Versprille and Daniel Hindman, to travel to communicate abstract thought and remember all the things they want to remember. It’s a place where the night is magic and it will transform you.

In the humdrum everyday world, the corporal version of Pure Bathing Culture has for the last few years been growing naturally and at a steady pace. However new album ‘Pray For Rain’ sees them make an evolutionary leap, taking their finely honed metaphysical pop to a new level.

You can hear it in the opening notes of their anthemic title track: in Hindman’s clean yet serpentine guitar lines interacting with the live rhythm section and Versprille’s lucid vocals cutting through it all as she asks: “Is it pleasure? Is it pain? Did you pray for rain?” You can hear it in the sweet pop perfection of ‘Clover’ and the trembling beauty of ‘She Shakes’, a story of two fantasy characters from different worlds being brought to an intense, fragile state through the experience of falling in love.

When it came time to write and record the follow-up to last year’s ‘Moon Tides’, the duo knew what they didn’t want. “We didn’t gravitate towards someone making indie dream-pop records,” Dan said. That was when producer John Congleton (St. Vincent, Swans, Angel Olsen, The Walkmen) reached out to the band and invited them to come record with him in his Dallas, TX studio.

It was a taxing yet ultimately rewarding experience when the album was completed. “It was shocking to hear what the finished product was,” Sarah said. “It was like being in a vortex and then we came out with this record.” She adds with a laugh something John Congleton told her when all was said and done: “You were very brave.”

‘Pray For Rain’ is the sound of Pure Bathing Culture transforming from who they were to who they will be, of finding their way, ready to take steps both small and momentous on their musical path.

STAFF COMMENTS

Andy says: Gently persuasive synth'n'guitar pop chimes, prettily topped with Sarah Versprille's engaging vocals. Gorgeous.

Over the last year, London-based East India Youth has combined strikingly original music with euphoric live performances and has quickly become recognised as one of the most experimental and captivating artists around.

Here he delivers brand new album, titled ‘Culture Of Volume’; his first since signing to XL Recordings. The record follows his critically acclaimed debut album ‘Total Strife Forever’ (released in January 2014 on Stolen Records) that went on to be nominated for the Mercury Prize.

‘Culture Of Volume’ opens with the synth sweep of instrumental track 'The Juddering', which does indeed judder. It then switches tack to 'End Result', an emotive, melancholic number featuring live instrumentation. 'Beaming White' and 'Turn Away', while 'Hearts That Never' and 'Entirety' head to the peak-time dancefloor with 90s rave beats, fidgeting keyboard lines and a touch of an unrelenting Underworld feel to it. Wearing its heart on its sleeve, solo vocal / synth number 'Carousel' sounds like a number U2 should have written for the Spiderman musical, but didn't. Firing up the club rhythms again, jittery 2-stepping drum & bass-ish cut 'Don’t Look Backwards' is catchy pop with fancy footwork. The album closes with the sparkling machine-pop of 'Manner Of Words' and 'Montage Resolution', which, like 'The Juddering', does exactly what it says on the tin. 

Mostly recorded and produced in his bedroom at home in London and named after a fragment of verse from the poem ‘Monument’ by Rick Holland, ‘Culture Of Volume’ was mixed by Graham Sutton (Bark Psychosis, Boymerang) and the artwork was created by visual artist Dan Tombs (inspired by Andy Warhol’s experiments with computer technology).

It's a rare and beautiful thing when a band emerges fully formed, but it makes perfect sense in the case of guitarist Daniel Hindman and keyboardist Sarah Versprille’s Pure Bathing Culture. Having backed folk rock revisionist Andy Cabic in Vetiver, the New Yorkers partnered up and moved west in 2011, settling in Portland, Oregon.

In a short time the duo have created a sound that is undeniably their own: soaring synths, chiming keyboards, and shimmering electric guitars move in lockstep with bouncing drum machines, with Sarah’s crystalline voice floating on top of it all with divine purpose. It’s a sound that looks back momentarily for inspiration - Talk Talk, Prefab Sprout, Cocteau Twins - but then fixes its gaze firmly on the present.

Further developing the sound of their acclaimed four song, self-titled 2012 EP, at the start of 2013 they set out to record ‘Moon Tides’, their first full length album. Again, they chose to work with producer Richard Swift at his National Freedom studio in rural Cottage Grove, Oregon. Throughout 2012 Swift had called on the duo to help him with other studio projects (Versprille sings on Foxygen’s latest album and Hindman adds his sprawling guitar work to Damien Jurado’s excellent ‘Marqopa’) which only helped to cement the threesome’s musical partnership.

Like the earlier sessions for the EP, they worked quickly in the studio and improvised parts around the basic song structures that they’d carefully composed up in Portland. Dan explains, “Pretty much all tracks (vocals and instruments) are all first or very early takes. Richard is kind of a stickler about this and I actually don't go in with a clean, pristine idea of what I'm going to play on guitar or any other instrument for that matter, so there's actually a lot of improvisation as far as performances in the studio go.”

It’s this compassion and warmth in Pure Bathing Culture that set them apart. The music is uplifting. It invites self-reflection. It never feels alienating. ‘Pendulum’ is a perfect mid-tempo album opener that pulses and shines. Other standout tracks from the album - ‘Dream The Dare’, ‘Twins’, ‘Scotty’ and ‘Golden Girl’ - are slices of reverb-drenched, soulful, danceable electropop that musically and lyrically tap into an introspective worship of the natural and psychic mysteries that surround us.

Pure Bathing Culture’s debut album Moon Tides is optimistic modern music for souls who seek to explore the infinite.

STAFF COMMENTS

Andy says: Gorgeous dream-pop for fans of Beach House and the like. Perfect for the summer.

TRACK LISTING

Pendulum
Dream The Dare
Evergreener
Twins
Only Lonely Lovers
Scotty
Seven 2 One
Golden Girl
Temples Of The Moon

2Mex of the Visionaries goes solo on a boundary bustin' mission. Featuring guest appearances from Busdriver and Jean Grae plus a varied production palette with SA-RA Creative Partners, Babu, Subtitle, KeyKool and plenty others, the scope is exceedingly diverse.

Moral Crux remain one of the most underrated groups on the underground punk scene today. Their brand of politically aware pop punk is honest and direct and is the way punk rock is meant to be. Now on Panic Button / Lookout Records.